berklee arranging 1
TRANSCRIPT
. .
ARRANGING ·1
by RobertO'oezema
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Berklee COLLEGE OF MuSle
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o BerkleG.,College oJ Music 1986
CDNTENTS
INTRODUCTION
I I FORM A. SONG FORM
B. ARRANGEMENT FORM
C. REHEARSAL LETTERS AND NUMBERS
III ANTICIPATIONS A. ANALYSIS OF ANTICIPATIONS
B. MANIPULATION OF MELODIC RHYTHM
t. IMAGINARY BAR LINE
D. DYNAMICS AND ARTICULATIONS
IV THE RHYTHM SECTION A. THE DRUM SET
1. The Instruments
2. Standard Specific Drum Notation
3. Notation and Parts
B. THE BASS
1. The Instrument
2. Constructing Written aass Parts
3. Styles
4. Notation and Parts
C. THE GUITAR
1. The Instrument
2. Notation and Parts
D. KEYBOARDS
1. The Instruments
~.' NDtation·~n~ Parts , '
V APPENDIX
ARRANGING
Arr:lngilll', If! the :1(1;)pt:ltloll of a p!l't:C 01" lIIuslt: to :\ speci ftc vO(':ll .1lld!or IIl:>LI"UlllcllL:ll COlllb1.n:ltion. TIl.ls vocaJ Hnd instrulllent:.1 cOlllbln:ILion 1II:1y rnngl' [rolll :1 sing Ie performer. wIth or without :1 SlIIa II supportillg gr-oup, to :1 full or-chestra.
The success of an arrangement depends on the arranger's musical technique, good taste, and his or her ability to enhance the music in a way that is pleasing to both performers and listeners. To this end, arrangers often modify and stylize a piece of music to the extent that they nre adding their own musical ideas. In this way, arranging may involve a certain amount of composition.
There are many clements to consider in arranging music: form, instrumentation, style, tonality, melody, harmony, rhythm, etc. We will begin with a discussion of form.
Form Form, in music, is the structure and shape of musical ideas and the planned
design in which these areas are repeated, contrasted; and/or varied. To determine the form of a piece of music, one must be principally concerned with its melodic and harmonic content. Form in music may be considered both in relation to the shorter and separate parts of a piece and !O a piece as a whole. In this course, we will consider:
song form as it relates to jazz, rock, and popular music, and
arr-angement form (how the various sections of an arrangement are put together).
A. SONG FOR!'1
To understand song form we must not only consider melodic and harmonic structure but also lyric structure. Although form will vary from song to song, there are several typical form models that are often used by songwriters. Diagrams of these form models are used to graphically represent the form of a song. While letters A, B, C, etc. and a, b, c, etc. are used to represent a song's melodic and harmonic structure, there are additional terms used to describe songs with lyrics. The follOWing is a discussion of these terms and form diagrams showing their use.
1. Verse and chorus
In older song forms, particularly folk music, cacll verse represents a co-equal subdivision of the total lyric structure of the song. The same ~elody is used for each succeeding verse in the song.
1.
A A A
V£~S, VeA. sf.H z~ H 31}-
~frc Note: In this song form each verse often ends with a refrain
(see refrain).
,1. In simple binary, or two r;lrt, song form, tlte Vl'rse is followed by the chorus. The melody, harmony, ;llld lyrics of the chorus are different from the melodv, harmony, and lyrics of the verse. When· this musical: form is repeated, each subsequent verse has d"iffterent lyrics while the lyrics of the chorus remain the same.
A B A B
[...._v,_;_;_s6'_----'-1C_HO_R._V_s-----JHL..-..,...v_;-.~-··~-6-L.-C-«-o _R_U_S~~ UC
Note: \-T1Iile binary song form is often used by contemporary popular songwriters, many contemporary pop songs contain additional material which. provides additional musical and lyrical contrast to the verse apdchorus. This additional material is called either a primary or a transitional bridge (see bridge).
b. In complex binary song form, the verse and chorus are often longer and more elaborate (both lyrically and musically) than the verse and· chorus of ~i~ple binary song form. Here, the verse functions specifically as an introduction to the chorus and is called an introductory verse. The chorus is the main body of the song which may be repeated in part or in full without the verse.
A B . B r-.- CH ORU SJ-;-;s-R~-·----rl-C-H--=O=-R"'-V-~-' H ~ Ere
2.
The verse and chorus in complex binary song form are often so long that musical subdivisions of the overall form become 'Ipp;l rell t.
A B CHORUSV£f\5£ CUOAU5
3 [ 3 3 Ib r 3[ C
~
3 fbI 3 I c
Not'e: Until recently, complex bi,nary form was the preferred form of American songwriters when writing show tunes [or theatre productions.
2. Bridge
In standards, shdw tunes, and jazz tllnes, the bridge is the contrasting ulusical idea"that occurs specifically in the "b" section of an a a b a chorus. The b1;"idge provides the necessary contrast to, o'r "release" from the "a" sections.
CHO~U5
a a b a
Note: In most instrumental jazz tunes, the introductory verse does not exist.
In contemporary music, there are two kinds o[ bridges: the primary bridge and the transitional bridge. The primary bridge is a complete musical and lyrical ~tatement in which material different from either the verse or the chorus is introduced. The transitional ~ridge is a short musical passage ~it~in th~ binary song form, which connects the verse and the chorus and w,hich provides added musical and lyrical impetus toward the chor'us ..' '
3.
BABA ~'----'-'
1 ~-l: 2~ (HoRIJS - VE"RSf CHORUS
Ycr.SG" (1t&l't .... ttJ) I r
+ +-rAA",S 1l"IOfJAL "(RnNsllloNJlL
(7";ID6t ·OA.IO(,t
CHORUS
B GA 'P~I/l1ARY
f- f- f- BRIDG6
Zl~
Ve-RS6 CHORUS
B Cf-IoRuS
(-Reyc(.Lted)
A 1~
Yt.hS~
Z~
Y6'RS~ (!-lORUS
G BA 3~
YeRSf CUORU5
BB A 1'IZIMARY CI10'RVS r- I-- f,RIDC:z~
I--(-gc p,,,--ted.
G BBA Zond.
1'RliYlARY CI-101W;CHoRUS t- '(;R/DG6' I-- (Ref'c(\.ied)t-- VE"~Sf
+ +r
1RA"'SITlOIJAL IRl\NSllloNAL1?~ID6t '\:JR.IO(, £"
BA 1 ~-l:
(HORUSVe:-RSG" ,
4 •
J. Blues form
'1'r;1(11t101l:1I I>llle~ ,iollgs ;Ir<: wrllLL'1I JII ;1 12 !>;Il" tvrlll willi a unique melodic and harmonic structure. While blues melodies are distinctive in their use of "blue notes", blues harmonies follow, or 3rc variations on, tile following standnrd blues cllord pattern.
I7 Tl.7 I7 rI.7 17 77 r17 I7 (1:7) ,,((rrourflrir rrolttc rrorrrrlir rrrr flIP~" " I' " 'I " "I ,,~' j •, "I ' " ~ n "It ' "I ' '"~ " "I)
While many older "rock-and-roll" songs strictly follow this 12 bar blues form, contemporary pop song writers often incorporate blues melodies and harmonies in a "verse-chorus" format.
4. Hook
Since 1960, the expression "hook" has come to mean the principal. musical and lyrical component of a pop song. It is the p:lrt of the song that the casual listener most easily remembers and therefore, for marketing purposes, is usually the part of the song that generates the song title. Although the "hook" may occur anywhere in the song form, it is usually found in the chorus so as to allow frequent repetition and musical emphasis.
5. Refrain
In older songs, particularly folk and gospel music, the refrain is the phrase in the lyric that is repeated at intervals of the song.
In show tunes and jazz standards written in complex binary form, the term "refrain" is synonymous with chorus.
In contemporary popular music, the refrain is a type of "hook" that is found at the end of each verse.
1). ARRANGENENT FORM
- It is the arranger's responsibility to present the essential formatic elements of a song in a way that:
- is exciting and provocative for the listener - fulfills a time-frame predetermined by the performer or
record producer and - preserves the song's musical (and lyrical) integrity.
To achieve these ends, arrangers often: - manipulate the song form in order to bring out a song's
best elements - repeat the song form to allow [or additional instrumental
or vocal variations and/or improvised solos and - add to the song form by composing new sections called
introductions, interludes and endings or tags.
5.
1. DefinitiollS
Tile i.ntrodllctioll is ;1 short instl"llllll'nLll P;}~;S;Ij',L' :It till' bcglnning-oT~;n~lrr~gell1entwllich serves to introduce the mood, character, ;Jnd tonality o( the music to follow.
b. interlude
fln.i~_terl \!..dc is a short instrUml'lltn I p:1SS:1gC, m:l11Y t lilies llIl'loJi.cnlly and harmonically simi.lar to the introduction, whIch serves as a contr:1sting section to the main song form. fin interlude may be found between two choruses, or between ;J chorus and a new verse.
A _~ is a repetitive music3l idea which is built into the conclusion of an arrangement. A tag serves to delay the ending.
d. arranger's chorus
In an arranger's chorus, the arranger composes over the form of the song in such a way as to provide a satisfactory musical summation of the piece a~d often the musical climax. In a sense, the arranger becomes the improviser (on paper). An arranger's chorus, if used, will normally be found towards the end of an instrumental jazz arrangement. Arranger's choruses are r<lre in :lrrangcments for voc:llists.
c. solo chorus (or solo section)
A solo chorus or section occurs in an arrnngcment when :111 Lmlividu;ll instrumcnt.,list or vocnJist spont:lIH·ollsl.y ilJlprovises original_ musical lli-e;l:> OVCI- tll(' entire form or part of the form of the song.
The following form diagrams graphically represent how several different song forms may be manipulated, repeated or added to in an arrangement.
6.
--
--
3. sImple binary song form
A B A B
YfRS£ C.I-lORVS f-
-v-
VeRSE CHORUSIN~"'RVf'I1E"N1'p.L 1NTRO"DVCi/ON
r~S"RV~~N1'1H_
1N-rERLUO£ I-I- ~
"'--...._---y----_./ 'JOCAL 'VOCAL
A B B fNS-rRUJflf)J'fAL- CHORUSCHo'RVS I-
50£.0 Sec-no N
(ON V£R5c Smvcnllll:)~
'VOCAL
b. complex binary form
A B B
B
CU01WS 50£.0 CHORUS
B VOC.AL
~
VOC.AL. & :rNS"Rv"'~N-rAL
7 .
BA t
VERSe Cuo1W5rN5if\Vfl\~N-rAL :rlJf~OVuCf/ON
I- t- 1-NSfRV!1ENfAL :c /,rce 'ft!. vve "-
' "V
B 'VOCALA c t
1/Rr IYlA R ~' r""~RVI1£N(qL- f--- t- I--Ve-~S6 CI-lO'RVS Solo SeC1"ION'PJRIOGG
..... "V- --J '-.---v----.-/
VOCAL- 'VOC.AL
B B I-- CHo'RVS CH01<VS H'fAG CNPt1Ju 1
VOCAl.- :rHs""'~u"E/
d. blues
'BLl1£5 'BLues Z-~ SOLOi~ SeLoINSiRUMe.NfAL I-I- I-t- I--/l1eLovV fIlel..o'Pv CII01H/S C14o-RU5r.N'r~CDVc.1jON
C~01W5CHOfW~
'Bwes '0Lv£5A'R~AIJGE'R'5 I- I- I-- €NDI IV G file l-o'D 'r' fYleLoVVCU<71WS CHo'R115 Cl-101WS
8 ..
C. I{EIII':ARSAL U\T'I'EHS ANI> NUI"IIlEI{S
Rl.'henrsal lettcr.s nnd I1tllnb('rs nrc pi :Iced nn lilt' score lind lnd:l v Idll:11 1':1 rtH ilt ohv1.ouH phr:lsc bound:l r 1.l'sll1 thl.' nnw.!.e t ()
[:\ci I itatc the rchcnrsal of nn :lrrnngemcnt and to show thc individual playl.!rs the form of the piece bl.!ing played. The letters A - B - C etc. are used for each successive "chorus" in complex binary song form or each successive "verse-chorus" or "verse-verse-chorus" in simple binnry form. These letters are combined with numbers A 1\9 A17 ctc. to indic:lte mC:Jsure numbers at obvious phr:Jsc bouncJaries within each "chorus" or "verse-chorus".
The following diagrams show the proper use of rehearsal letters and numbers.
1. Pop song: simple binary form
r",-r'fiovucr/oN V6'R5£ 'V~RS6' CHORUS :rNrfR.lVO~
f-- 8 ----l }--8 ------l I--8 ----l ~S ~ ~4---l
SOLO C~ORUSY~~Sf C~ORVS CUORUS5e:c·fto~
f--S---{ f--8---{f-- S ------i l--S-----i I--S---i
Note: Rehearsal letters and form letters may not correspond.
2. Jazz tune: complex binary form
- III\JTROI ltJ A9 A17 A25 [SJ 89 817 825
r.N1"~O DlJe'no~ aa aa a ab b 88S 8S8 8 810
~~ CHORUS CflORUS (Sot..O)
[Q C9 C17 C25 [TAGI
a b a 1AGa S 8 S S1---10---11 ~-10-~
~
CUORU5
9.
-
J. 12 !l;lr blues form_.- _._0__._~. ~ ._+__
(INTROI
fnuf:S 1Nf120VUClIOIJ f,'\HO"DV (l-lOaus
t--8 ----j 1---12----I
'Bwcs ME:LODV CHO~IJS
!--12---I
[Q [Q) ITAGJ
[If-_S_OL_O ~:_l(U_S_E._S-tI] A"MJG;~ C~O~V5
Note: Another system of reharsal symbols involves simply numbering each consecutive bar in a piece of music.
Anticinations A. ANALYSIS OF ANTICIPATIONS
In contemporary idioms, anticipation is a rhythmic alteration of melody in which an on-the-beat note is attacked either half-abeat early (an eighth note anticipation) or a quarter-of-a-beat early (a sixteenth note anticipation). The result is melodic syncopation.
regular rhythm
with eighth note
anticipations
regular rhythm
with 16th note
anticipations
10.
-- Note: While eighth note ant~c~pations are common in jazz and Latin tUIll'S wllCr.e eighth note mclodic rllythms :Ir(' prcdllmln:lnt. slxtcl'nth note (LIB well as elghlh notc Lll1llclp:ltlons) arc COIIUIIOIl 111 ruck and funk tunes wherc sixteenth note melodic rhythms are predominant.
Harmonic anticipation occurs when there is a new chord change on the beat following the anticipation. Harmonic anticipations are arranged for the rhythm section in a variety of ways:
1) The entire rhythm section anticipates the harmony of the following chord creating a rhythm section "kick".
2) The guitar and/or keyboards anticipate the harmony of the following chord while the bass remains on the bea~
3) The entire rhythm section plays on the beat, in effect, disregarding the harmonic anticipation in the melody.
lead sheet
piano
bass
1'\ .... I " f1 I +' '---" I ...~{.I
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guitar
bass
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11.
!Ill :llllie i.paled Ilote is SOlllet 1llll'S sllllr[<.'Ill'd lo :Ill (' ighlh 1l0ll' llr
:; i :-:tl'L'lllh 'lolL' (r" I I OWl'd I>y II rL'st).
(SWING) 'Omi7 All'T, G1 . C Co
~~zr~~i~f ~?~~!I
B. ~1i\N 1l'U r.ATION OF MELODIC RHYTHM
Each nrusical style employs uniquely different melodic rhythms. Arr;lI1gL'I-s oftcn modify a song's IIIcloLlic rhythm in order to:
J) betler adapt it to the musical style being employed in on arrangement, or
2) suit their own musical taste.
I'/hile :lI1ticipD.tion is a commonly used rhythmic device in the lIIanipulation of melodic rhythm, so is delayed attack. A delayed att,'lck occurs when an on-the-beat melody note (usu;llly ,'l half note on beats 1 or 3) is attacked a half-a-heat late.
1)In"7 G7
regular rhythm .m~~~J~)~~I'~~~.
with delayed attack
Note: Delayed attacks, like ant~c~pations, are reflected in the rhythm section at the arranger's discretion.
12.
II
The followlllll, cOlllpar.i~wIH; dCIIHlIlstr;lte IlllW ;til ;IlT;)I1~',('r lII:l.g!lt lIIodJfy LhL' rllytlllll of;1 1IIl.'lody foulld 011 a le;1l1 sheel llr JluIJll:;lIed slleet lIIut;lc to various different musical styles.
(ORI~INAL-) ,q~1 C7(?vS4)Ahii7 Grni7 Fm(l.)7
; 7 } ~: r I, ~ ~ ~
(L.A1/ N1 Arn',?_r'
13.
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C. IMM:TNARY llA/{ LINE
III !1/4 tilllC', llle L1l.!.rd he;ll of tlie 1Ill';ISlire' slloliid alw;lys he vi,; I hI <:.
correct incorrect
, ,
Rhythms involving sixteenth notes should be written so that all four beats are visible.
correct
Beams on eighth notes (and sixteenth notes) should not cross the imaginary bar line.
coccect ~)~
,
incorrect $ ~ J J I
14.
IJ. DYNM1.1 CS AND ARTICULATIONS
Ilynlllll.Lc mnrkl.nj.(1'l nre tilC signs by willell lile t1egree~i or loudneflH tlr StlrlnL',HI of II IIIUH[Clll perforlllilnee Iln~ lndlcilleu .In II 'Icore lind
parts. DynamiC markings are placed beneath the staff. Articulation markings are thc signs that indicate the manner in which a note or notes are to be played. Articulation markings are placed directly above the note or notes outside of the staff.
1. Dynamics
pp p mp mf f ff
pianissimo piano mezzo piano mezzo forte forte fortissimo
very soft soft moderately soft moderately loud loud very loud
crescendo increase in volume
decrescendo decrease in volume (also referred to as diminuendo).
fp forte-piano loud attack followed immediately by diminuendo for the remainder of the note (not to be confused with sf or sfz - sforzando or sforzato - which are -indications for a sudden strong accent on
2. Articulations a single note or chord.)
percussive attack; note held full value; used on notes of any duration.
accents stronger percussive attack .{~
>
. staccato; note shortened; used on notes a quarter notei or less in duration.
i tenuto; note stressed slightly and hcld for its full value.
slur: ,In cxtcnded curved linc whicll indicltcs th;ll
all the notes under the line are to be played in one breath and in smooth (.legato) fashion (see example at left). For non-wind instruments other than strings, a slur indicates that the passage is to be played as smoothly as possible.
Note: The above reference material represents standard notational practice for most situations. Variations may be encountered depending upon style and the specific instrument involved. Refer also to the appropriate pages in the Notation book.
15.
N:lIl1L'_.. ._. 0 __ 0 0 • • __ ._
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AII;!lyz!' l"'I"III(\II.i(' aliI !Clp;llillIlS w.illl lil!' syllil,,>1 if
18.
N;IIIIl'
III )~ll·:\.,r()I\K:
Rhythmically adapt the given melody to the musical style indicated. Include dYI1;llllics ;lIld articu];ltions.
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I\llyLllIlli,';l1ly ;1\1:1I11 LII~' giv~'11 11l~'I"t1y Lo Lill' IIIlls.il':1I style illtll':;ll~'d. J.IlCllItll' JYJ1<IIiIics and :lrticlIl;ttions.
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The Rhythm Section
OIH:L' lll~ furm and SlY l..: uf an arcangcmcnL lIav~ b~l:n determined and tile meloJy has been rhythmically adapted to fit the style (if necessary), the ilrranger is ready to score parts for the rhythm section. To be able to arrange effective rhythm section parts, the arranger must know:
1) the range und technical idiosyncr:lsies of each rhythm section instrument, and
2) the proper notation for each rhythm section instrument and the level of notational specificity appropriate for the style of the arrangement.
The Drum Set
1. THE INSTRUMENTS
A. BASIC EQUIPMENT B. OPTIONAL EQUIPMENT (A PARTIAL LIST)
1. Cymbals 1. Additional cymbals
a) hi-hat (H.H. ) a) crash-ride
b) crash b) pang
c) ride c) splash
2. Tom-toms 2. Additional toms
a) mounted toms 3. Cowbell (C.B.)
b) floor toms 4. Wood block (W. B. )
3. Snare drum C. BEATERS
4. Bass drum
1. Sticks
2. Brushes
3. Mallets
21.
J.I. STANIJ,\IW SI'I';ClFlC IJIWM NUTATlON . _... _._._._~--------_.__._.__._-_._-_.~ ----.---"
,\, <:Y~ll\AI.:;
:1) with stll'k,'; Ill" hrll~;/ll'~;: x',;, ';(I'JlI:; III'. pl:/('I'c1 ill tll<' tllP
Sp,1CC' illdil::lte hi-h:lt (0) npl'll III' (+) C Il)fh:·d.
+ 0 + 0ex. ) ( )H.H. _~JJJJ ~ ~ ~
alternate notation
b) with foot: XIS, stems down, placed in the second spnce indicate the hi-hat to be played with the [oat.
ex. )
XIS, stems III', p];lCC't! :lllllve thL' Sl:lff ind.ic:lt(' thl' giv('n
cymbal (crash, ride, etc.) to be p layeu in the specHtI'Ll rhythm.
(CHC~~'Note: ,pI J'= let vibrate or ring cut off or no ring
B. TOM-TOMS:
Although tom-toms are usually played at the drummer's discretion, a specific tom-tom passage may be notated with note heads, stems up, and located on the staff to graphically shew high vs. low tom-toms.
C10J01 S)
~
22.
Note: tom-tom note heads arc placed on the lines so as to not interfere with snare drum and bass drum.
Note heads, stems up, placed in the third space indicate snare drum.
a J 8 t=l.~ ~ a Note: R.S. rim shot Note: use unmeasured tremolo
notation for snare rolls
D. BASS DRUM:
Note heads, stems down, placed in the bottom space indicate bass drum.
III. PARTS AND NOTATION:------'--.---="-'-=--=-"-'--
A. BASIC TIME PLAYING:
Slashes are used to indicate the number of beats in each bar and imply playing time in the indicated feel. Indicate which beaters are desired (sticks, brushes, etc.).
1) (ME'D. SWI~G"ex.
~~;~I~7'~'~I;~'7~7~/~7~7~I~7~/7~/l (STICKS) 1tl!
j 7 I I I I I I I I I II I I I j j I I I Z I / t~ (Repe-AI A.,JO FADE)
2) (Up :rAZz.. WALTZ.'\ex.
j 7 j I I I j IZl II I I j I I I I I
l j I j I j .- FI j 2 I I
e..-tC
23.
Il:\:-;ic time p.layillf; notation is IlseJ on drum pnrts for most j:lzz styles when the arranger desires to allow the player the maximum r rl't'dlllll lo rl':Il: t spnnt:IIH'OUS ly to till' ol hl'r I' I :Iy,'r:; :111.1 WII"11
,;p",' i I.le 11I1[;ll.l.on of rhythms l.s Ilot ,"'m:llll"'d by tilt' 11111,;1".
II. KICKS OVEH TIME: ••• - •• - •• - - - 0
Sm<1.l1 Ilotc heads, stellls U[), which arc pl.aced above the staff, m:IY be used to indic:ltc rhythmic ;]CCcnts to be incorporated into tile indic:ltcd time fecI. These arc pl:lyed on :1 drullI or cymb:ll of the player's choice. Written instructions ,'Ire he.1pful in indicating to the drummer which instrument 01' instrument,'1] group the rhythms :1 re to hL' pi :IY('d wi Lil.
ex. J) ~----......
(!'16'D SWING "\
7 I
Prj. ~, Pr I I 7 I I
f I 1 (I I I III l T, I
I I I I I 7 I I I I I I I 7 I II I I I I I I I I I I I I I I I I1
I 7 ). 1 I I I I 7 I 7 I 7frpri ;- tfg$I I I I I I I I I I I 1I r~
.Note: Non-specific kick notation, or "cues" (shown above) are used on drum parts for most jazz styles when the arranger desires to allow the player the maximum freedom to interpret rhythmic accents. A drummer may, in fact, choose not to play certain rhythms notated in this manner as part of his or her interpretation.
C. CYMBAL ACCENTS AND RlIYTIIl'IS OVER TU1E:
(~) x's with stems up which are placed above the staff, are used to indicate rhythmic patterns or accents to be played on a specifically labeled cymbal. These cymbal parts can be incorporated in a time feel when placed over slashes.
24.
I i II l
ex. 4)
II /
Ct) II
Note: Cymbal rhythms should be properly aligned with the time slashes.
Note: After a ride cymbal pattern has been established, the word simile may be used to indicate that the drummer should continue the pattern in a similar way.
D. STOP TIME:
I{ltytltmlc IIOL:ltlol1 (shown he.low) m;IY he IIHeu Lo 111<11c;ILe drum
accents that are not incorporated into D time feel but arc played as isolated accents on the drum or cymbal of the player's choice.
25.
l';";'. I): I)
~~~~?7\f(~1~~.~@~_§(~I~~.~ (snc..:s)
F§J~~(~~~)"'~(~RIP€~)A~2~1'1"'~/~p~;~J'r~l~I§1§l~ ('RePeAT" AIJO FAO£")
A drummer may interpret non-specific drum notation in a variety of ways. Tllcrc[ore, specific drum notation is preferable when a specific result is desired by the arranger.
ex. 5b)
("'""S""'w-r-t.J-<.;""""
(_CaASm'l) ~.' ~g > ~ ~d >.~~~r~C~p:~JB~_~r~:iSi~~.·~T1J
("T'C"'~'j f F i
~II~-~~.~.... (~'P;)4-~l J %4-2 fir' ('RHeAT" AND rAD6~
E. FILLS:
The word "fill" followed by a horizonta.l dotted line and concluded witl} a downward stroke is used to indicate a short improvised drum solo of anywhere from one beat to as much as two bars duration. The word "solo fill" is used to indicate a drum fill that is played without accompanying music.
ex. 6)
26.
G. 3-PART DRUM NOTATION
A 3-part drum notation comprised of bass drum, snare drum and cymbal is advised when a verbal indication does not adequately express the desired drum feel. The snare drum part and the cymbal part are stemmed together to avoid an overly complex part. After a few bars of this system is used, slashes with the word "simile" or bar repeat signs can be used to indicate a continuation of the same beat or pat~ern.
(1="u-..r k."lex. 8)
~ - ( (S'nclCs)
o
;"1 + 0 + 0
J I
J I
J I'
J I
J / ,i
? y'
0
#$ Note: See also example 7 at the top of this page.
I:. KICKS I\NI) FILl.S:-1\ l'(>rublll'll Illll "I' drlllll 11"1 III Illil Il ••\ I':.
27.
CI:I:;I> "VIIII>:Ji ;1,','('111:: :111<1 ;1 ('llll::I;111I hl-h:ll 11;11"
ll!' (x's) :Ilwvc the ~t;l[f for crash ~l1IJ (x's) ill
1I"""ripl'iv(' wonls :lI'C' :also helpful.
:II'" di:;1 illl',lIi::II"d hI' tl,,' II:;,'
lhl: Ilup sjl:H:e lor h,i-II:ll.
.--
l':-.. 1.1)
>
>:dr-- t et-.c.
Note: Bar repeat signs indicate an exact repetition of the previous bar or bars while slashes and the word "simile" indicate a similar continuation of the previous drum pattern allowing the player the freedom to interpret and react to the accompanying music.
28.
Name 11()~ll<h'(lI\t-: :
Supply ;l drum r:1rt for the following swing blues tunc, given these specific inSlructions:
I) "B,,,;l,· lIllie pl:Jylng" lltruugilulll, excepl wltel"e otherwIse InJIC::lleu. J)yn:lm.lcs: mf, JIc:ltCI"S: Sticks.
2) Include horn cue "kicks over time" notation for the following melodic rhythms: the first two eighth notcs in bars 1 and 5, and the last two eighth notes in bars 2,6,10, and 14.
3) Include cymbal accents for the following melodic rhythms: The eighth note anticipations into bars 8 and 16.
4) Include "drum fills" in bars 4 and 7 and a "solo drum fill" in bar 15.
t'1£'O.5WIfJG. ItUl1.:)::1H f7 f7 Cmi7 f7
) ~
. J .,. (+\ + y ..
J 'I, %. :; 4
0 1 -.. 3'""
s "
f7(7
C1
Gmi7
0 ~ -
'" ~ •
q 16 II 17 (
,.......""" .
. • y
l~ 15' 1(,
29.
-
Name
SUPl'l.y a Jrul1I part for the [LJJ]LJwillg bl\SSa illlV;1 tUlle, givt:11 lhesl' Spl'l: If ic j ns t nil' t.i ons;
I) "j\;l:d,' LIllie pl;lylllg" LllrllllghotlL, e:,;cl'I'L wllt.·re othvrwisl' illdic:lll'd.
J)y 11;1 111 i cs: 11If. Jl(':1 L l~ rs; Sci cks. 2) [nclude a ride "cymbal rhythm over tinw" ill b;lrs J alld 2 \Ising till:
rhythm I ) n_N ,nj.P) Jl J JI· Also indicate that this ride cymbal part will continue in 11 similar way.
3) lnclt1de "stop time" figul'CS wjth rhythmic' noUlt.ion in h:lrs 7. H, 14 :lIld 16 using thl' rhythl1l of the Jnl'lodv ill (':I('h cilse.
I,) InJicaLl' .light "drul1I fil.ls" ill bars 11 , I:" allu bl~"ls ~ and I, or 1>:11' 7.
(IY1E.t).13oSSA NOVA ) 111m: ):: 12.0 Cmi7 Cnft7
)( I
LeAP -,-.J -.J-' -.;.:5UEfT ........ .... i-'0 __'+ ......1--''; 6
J <411\ ~
Fmi7Fmi7 (.n I l.. l.. I- "
......;VI~
r.- ..
; P 71t?
... . , ' v~ I
" C7 (svs4) C I r--....
... '---"'" '-r-'" '-' qT.
Ii I~ /6
30.
Name
IlOMEWORK:
Supply a drum part for the following rock ballad tune, given these specific instructions.
1) A "3 part notation" system throughout consisting of: a) the bass drum playing the rhythm of the bass part, b) the snare drum playing on beats 2 and 4, and c) a constant eighth note rhythmic pattern on the ride cymbal.
% n .. - J I .. - - ,....
II I ,
. l '" '" I l"I r
. l "' c - _,I' ... - . · , ·
Ii
. · -, .. -...If"
,
31.
. J .... ---.....:::l "'"
....
. 7 - , ., I
,
J ,-
NilIlIl'
1I()~II':W()I\I\ :
:;"1'1,1\' " .1""'11 1';11'1 J"I' tllo' t"II'IW(lIg IIllIk 11'111', r,lvI'1I I ill'"'' :;p"I'illl' ill::l nlt'r Inlls.
J) /\ ":1 p:II" drum ool;ltioo" systl'l1I coos i:-;l illg of: 'I) till' b;ISS U1"1I11I pl,aying thl' rhythm ,,\ the !l;ISS p;lrl. h) l hL' SII;\ rl' d rllm play i ng 011 hl';1 t S L ;llId II :I lid
c) a constant sixtccnth note rhythmic p:ltll:.'rn on the closcd high hat except [or open high !l;lt on the Ab7(11l1) accents at the end of bars 2 ;:Ind 4. and cymb<ll aCCl'nts on tIl(' sixteenth note anLicip'ltions of beat J in bars 2 aod 4.
-5mi7
.lJ,
LEAP 5UEEi
Gma.j7 ..J. ... - t
I "'"
....
- , I.
, --, 9• """-----' •
, I
(
32.
The Bass I. TilE I NS'l'HlI~IEN'I':
The bass is a transposing instrument. The written range Is one octave higher than the sounding, or concert, range.
Concert Range:
The bass is always notated in the written range even on a concert score. The hass has four strings that are tuned to the following pitches. (Alternate tunings of the E string are possible, but rarely used.)
Written:
A. TYPES OF AVAILABLE BASSES:
1. Acoustic bass:
The term areo is used to indicate the bass is to be played with a bow and-piZzicato (pizz) when played with the fingers.
2. Electric bass:
b) fretless
33.
I I. !:ONS'I'IWC'I'I Nt: WI{ I'I"I'I':N UASS PAWl'S
A. 1110 first note played in the bass at a point of chord change is usually the root. Playing the root helps clarify the chord progression. ~len an inversion or hybrid voicing is i.ndicated. lise the prescribed function at the poinL of chord change (i .l' .• C7/Hb bass or C:/llb bass).
B. Other chord tones may be used freely once the root has been established. The 5th is the most common alternate choice.
C. Non-chord tones may be used as p;lssing tone::> or in other ,Ipproach note patterns. These non-chord tones mllst resolve Lo chord Lones in chrollwtic or diatonIc stepwise motion.
Il. Sl.l'l'wl,·:,' lIIotl,'n Is \lSlI:i1l.y w:,'d to "Olllll'"( (!a" L,,;( 11,1(" ';<1111111,,"
on :1 chord to tlll' root of the ncxt chord ('h:lIlgc. This sLl'pw i Sl'
".Link" allows slI100th lIlotion [rolll chord to cllOrd and is :1 voiceleading consideration. (This linking tone is not neccRsary when moving between consecutive roots of adjacent chords.)
E. Pedal points and ostinatos require the repetition of a single note or a pattern of notes through a series o[ chord changes regardleRs of the relationship of the note (or notes) to the l'honls in the pi-Pi', ress ion.
Scc the following pages for examples that demonstrate Lhe above.
-.,
34.
I J I. S'I'YI.I·:S:
The bass helps to establish the appropriate feel of the music. Each musical style (swing, latin, rock, ballad, etc.) employs a uniquely different bass line rhythm and pattern of notes. The following examples demonstrate several commonly used styles.
The above example demonstrates the following: 1) In the introduction, the bass plays the roots of the chords
in a rhythm that is concerted for the entin~ band.
2) At letter A the bass plays a swing, or "walking" bass line, consisting entirely of quarter notes with the exception of four rhythm section kicks at A6, AID, A12 and A14. Note the predominant stepwise motion including both diatonic and chromatic passing tones.
3) At A13 - A17 the bass plays pedal tones (indicated in the chord symbols) in a rhythm that is concerted for the entire rhythm section.
35.
The example above demonstrates the following:
1) In bars 1-4 a bossa nova bass line in its purest form. Note the consistent dotted quart~r note-eighth note' rhythm and the specific alternation between the root and the 5th.
2) In bars 5-6 and 13-14, two of the many variations of bossa nova bass lines that are played in a variety of "latin" styles.
3) In bars 8, 12, 15 and 16, the pattern is altered so that the bass will accent the roots of chords in a rhythm that is concerted for the entire band.
--....
36.
The example above demonstrates the following:
1) In bars Bl - B4 a samba bass line in its purest form with the exception of anticipations. Note that this bass style is really a bossa nova pattern played at twice the tempo.
2) In bars Al - A4 one of virtually endless variations that are played in a variety of samba feel styles.
3) In bars A7 - A8 the samba pattern is altered to accommodate rhythm section accents.
Note: Because the samba and bossa nova bass lines may be identical except for tempo, samba music is often notated in cut time. The example above could be notated as follows:
37.
'1'0 :Ivlljd COllflISloll, samha (111 'l) with ~ limp sigllalllrl', or ~::llllha (Ill ~) willi ¢ or i time signature is indicated to darify which nOlalioll is being used.
,
38.
'--
AltllOugh tllere are many different roc.:k feels <.Ind Hty.lcS. there <.Ire elements of bass part writing that are common to Inost rock variations.
1) In ex.~mple 114. the root of the chord is the only function of the chord used to construct the purt. with the ~xccption of the 8th bar.
2) In example #5, a short melodic pattern that defines the chord change is repeated in a rhythmic pattern that remains constant throughout a particular section of the arrangement. It is Important lhal the bass rhythm Is conHisLenl wilh llll' hass drulII rhyllllll or the drulll scL p.lrL.
Emi7 ex.
Although there are many different commercial funk and funk-fusion styles and feels. again there are elements of bass part writing that arc common to all the variations.
39.
I) III <'x;lIl1pll' IIh, L1Il' root 01 lht, I'bord. wilh lew t'XCl'ptiollS. i:; till' lllil Y IlIllel lOll of l hI' .. 11<'1'.1 w·..·d III ,""1:;( nll'l t ht, p;lrt.
Noll'; wid ll' rock hal>s pan::; tYIlJc;llly l'lIIpl,)y eighth Iloll' r-i;y-thms, funk bass parts typic;ll ly employ sixteenth notc rhythms which are determined by the melodic and harmonic rhythms that are unique to each different tune. While rock bass parts typically sustain or repeat the roots of l:hord:>, funk hass parts arc sp:lrse.ly written with short percussive attacks th:lt arc often played with a "slap" technique.
2) Example 117 demonstrates how funk-fusion bass parts are typically IIldre ;l<.:l ive both rhythmic:!lly alld melod i.e:! I I y. These bass lines arc many times one of the most import;lnt c lemcnts of the music and define the character of the whole ;lrrangcmcnt. funk-fusion bass parts often employ a rhythmic ostinato figure that remains constant throughout each section of an arrangement and is synchronized to some degree with the bass drum of the drum set part.
ex. 8)
CC,1ltff ~R"'.4 L.'fl~Ul4'P
'):~-
The e;,amp I e above demonstrates a commercial ball ad bass part which employs dotted quarter note-eighth note and/or double dotted quarter note-sixteenth note rhythms. Again the root of the chord is used exclusively (with the possible exception of fills or melodic passages).
lV. NOTATION OF PARTS (see also the above examples)
A. PLAYING CHANGES;
Slashes are used to indicate the number of beats each chord receives and that the player should construct his or her own bass
ex. 9) part in the labeled feel at his or her discretion.
(Met'- 5W"~lv1 ~ .7E Mo.J
I I I I_IIIIRIIII/III .",;
Gmi~ G~7 FMi7 e~7
I I I I J J I I I I I I I I II I I I I I 1 I I I I I I I I I~ J
40.
Time slashes with chord symbols may be used when the arranger desires to allow the playet'the maximum freedom to re.,ct spont.,neously to the lIlusic. This is part.icularly conunon when the bass player is supporting improvised solos in most jazz styles.
B. PLAYING CHANGES AND SPECIFIC NOTES:
ex. 10)
ce"SSA NOVA'" Fme.) 7
J J JI I j'h•.S I I I
Omi1 1)~7 C7(s"s4) 1)~m~~ 7 fb",o.) 7
'J~ _£-fft~'C~~
Time slashes and chord symbols may be replaced with a specifically written part when the arranger desires the bass player to play specific notes in a rhythm that is concerted for the entire rhythm sec tion. Notc: The following notation may also be \Is~~d to indic.1tc occasion.,l harmonic anticipations in the bass part.
(5w I r.J CiJ" F1'10.) 7 Ebmo.~ 7
J I I JI 1 I I• ~~/~/~Igtf?~/~l~l ~!§!I~I
Fmc.) 7 Gin; '7 C7 J I I I I I 7 I J I 7 7
I 1 I I I I 1 1 I I 1 I9:~ @XR " fJ ) ,'.
C. WRITTEN BASS PARTS:
In most musical situations it is preferable to construct a specifically written part in the indicated style. Note: ~1ile many styles are currently played on both electric and acoustic bass, other styles, especially funk, contemporary rock and the more active latin feels are played exclusively on the electric bass. This is due to the fact that the electric bass allows for much more rapid "guitaristic" playing than does the acoustic bass as well as the thumb slap and pop techniques so typical of the contemporary electric bass sound.
41.
- ,..--,
Name
11()~ll':W()RK :
SUpp I v d b:lss part for the following swing bl lies llllW (S;l'lIl' lllill' ;IS unJl:1
homework P:lgL' 29) given these specific instructions:
I) 1\ w:1Iking" has,.; lilll' conslsl-ing of qU:lrll'r nol,'~: throllj'.holllI
,'X"o'!,1 wlll'rl' otlll'rw.l Sl' i nd il'illl'd. :') II",,;:; ... ·::1.': in h;lr I'). ;1111 il"lp"I('~; ":11' If> ;111<1 hold:; ;11 11", ('"nolu('(lIr':;
discretion.
tYJ£1>, SWIfJu m,m,: );; 144 f 7 F7 CMi7 f7
c ) 3
J
1(-1;r!I' 1-;--.
J 'I,
.-'. U~D
~"EEr ''''',* ''''(+1
:t
-=1=
-+'T'"
:; 4
L ...--
--;
'S " C7 I"~ 1'7 0 ~ - (
'" ~ •
. II /6 II ,I.
,"
f7
,s-
C7G",i 7
I)
~I-r--.-.
. • r'
/
4 2.
---
Name
HOMEWORK:
Supply a bass part for the following bosso nova tune (same tune as drum homework page 30) given these specific instructions:
1) A bossa nova bass pattern throughout except where otherwise indicated. 2) The bass plays the rhythm of the melody in those bars in which the
drum part (from homework on page 30) includes "stop time" figures (Bars 7, 8, 14, and 16).
( iY'IE'V.13oSSA NOVIl ) 111m: ) = 12.0 em; 7 ( L )
I" J O,--,''*" r ..... 1--""'
J i'
Cmi7
LEAP ........ v5H~er -
'f¥lss :3
fmi7Fmi7 n I I... I (,
'" '" . .. I
5 1 8" Gmi7-
-
n I - -.. I • '-,/
1/
C7 (svs4) I r-o-.
- ....... v ....... ~T'--"""
-I
/4 If 1(, (1)(, o..lfi'l.e..)
43.
7
Nalllv "-
Slll'l'lv ;1 h;lss p:lrl lo lill' following rock l>alLld lllnl' givvII t.I1l'SV spL'ci fic j IlS L !"tH'l ion~:
I) 1\ rock ballad bass pattern throughollt except where otherwise indic;lted. 2) The bass anticipates be<lt 3 in bars 6, 8, 10, 12, 14 and 15.
- % ...c ~
qr' ....
~(Cir.) r' t---r - ~~f
'BASS
I . %
,
~ of
c ~ .u - ~
... -' .' ./ - -,(,
85 7
A Emi7 ~ - - ..
• ...... - I
~l:
., 16 II I%.
1(, 'Dc. 'RePfA1'" ):t.l11tO/4
EIlli7 c A .u
.. . J - '-'
~
J I! 01,
AN'}) rA'VE:
44.
- --
Name
HOMEWORK:
Supply a bass and drum p.:lrt to the following specific instructions:
s.:lmba-fusion tunc glvL'n these
1) Arrange your own samba-fusion groove for bars 1-8. 2) Arrange specific stop time rhythms for bars 9-12 including drum fills
in the drum part.
n J ...- ~
~ ; · ~
· J
, "'
·
1'1 ,..-oT -
- -.
I
45.
~Omi7
'"
{ - ""'
• ~ - " ....
7
(1 ,.. :>- :>
. .,.. ...... , .
.
• ~
'f;ASS
~i'1lt)7 Eb~j7 1)7(5vS4)1J~",~j7 C7$vs4) C7 A7(19) :> :>- r--,
.
:>. ~----:,.' t
(•.4./I
46.
---------------
----------
Name
110M I~W()RK:
Supply a hass ;I\)U i Il~; I nll'l Ions:
drum p.1rt to the followIng rock tunc givL'n thesL'
I) Cllll::;trUl:t the bu::;::; part to accollunodatl' the important h;lrmonlc rhythms being played in the guitar and keyboard parts.
2) Write out a specific drum part.
(~~~O-c.K""'" It! m; ): /44
C8 ~ ~ % % )a
.. J T~fp- ~~#' ~~t- :;~~#r
1'€'D...- • - - • - - - • !II' 1'E'D .. w ------- ..... 1'E'D" w - - - - _ - - -At 1'£'0 - - - - • - - - -11<
'floc." ';ou,.,,, 8vo.- - L:.,---------- --------., -
"
J ")f
/ J
,
J n 4. ~. 4. (13~mo.j7 1)nll1 'Dmi7.
/\ D ) A
~ \,
w .,. 4
~-;:: ::r ::r ~ ~ ..
~ ~ eft. C.Ut)!WS ~ 4) 13~1lI'7
"J .... ~.. ~
~TI"IJ C7 u!> 1)1l'"17 'D "j7
.. I
"'" V I I v
-s-) " 7 8
47.
l
cF [ ) I .----. \,
- - - -+ --..-~ ~ ~~~ .,.~: ..L: -....L...J& ~:
CII~ -'-...::. r..:. ~,
"L~O F G7l4VS4) f,~ c 'ff c I~/r~-~ 7: :7~rs'-/-' -/ - .- , . '.
0/ V I II I l/ ..
-....J I -
.,'" 10 1/ ,1 (
F
1)ASS
~ I .... I• - '" l..--tI --- I--J-"~,. 1''' ....
J -=""'" -II" -JIf'-::¥ 'pr.....
e~ F('&~) C 1)~ ! -v' J ...... I I--J J ~ I II I V
"'. J
- . ,~ J 7I"
48.
The Guitar I. THE INSTRUMENT
The guitar is a transposing instrument. The written range is one octave higher than the sounding (col1l~ert) range.
Concert Range Written Range Bv"".-, .L
U'''/4£ ST FA£rrer> 1'I'rc.H ON EI.£C:-rRIC ,,,,,.,.A'R. S WI rti Zz. "fitEr5
The guitar should be notated in the written rLinge even on a concert score. The guitLir hLis six strings tuned to the following pitches: (alternative tunings are possible, but rarely used).
Concert:
ZJ
1'): (J
0
a ~
-e
v!ritten: (>
0e$ -- 6= c ~ ?J"
12 String Guitar: The 12 string guitar has 12 strings tuned to the following pitches.
Concert:
fr .a r1
e ') () 0, a
-e-
Writ [l'n:
a 0 e~) 0
0
~ "U "
49.
A. ACOIiST I C (;lIlTAI~S
I. CLlssical /!,ultar - nylon strings
2. 6-string acoustic guitar - steel strings
3. 12-string acoustic guitar - steel strings
B. EI.I~CTRIC CliITAI{S
I. 6-Sl r j Il}-: 110 I J ow body guitar - jazz sLy ll's
2. 6-string semi-hollow body guitar - all styJ~s
3. 6-string solid-body guitar - rock styles
4. 12-string electric guitar
II. NOTATION AND PARTS
A. CHORDAL ACCOMPANIMENT
I. COl1lping:
"Comping" means providing an appropriate harmonic and rhythmic accompaniment.
Slashes are used to indicate the number of beats each chord receives and that the player should play these chords in the labeled feel at his or her discretion.
ex. 1)
FMI7 e,b 7 ($uS4)
J b¥%=6?" ) I Efit' ~I I
50.
ex. 2)
(JAZZ. WAI.:rz1 ,(~5)AM',7-emir
- . r r 1~' , . ~I~I~Tjj~/~t::=t::::@~~/~l~' l§'1ft;
Gllla.~ 7 1"
, , ,1 1 J J 1 1 1 I 1I ~
Camping notation is uscu when the arrallger de:;ircs to allow the player the maximum freedom to react spontaneously to the other rhythm section players and when specific voicings and rhythmic patterns are not demanded by the music.
2. Playing chords with a specific rhythm:
Rhythmic notation, stems down (shown below), is used to indicate that the chord changes are to be played with a specific rhythm.
ex. 3)
(~S-W'-N"""'~" Ami7(~S)V7(P,,)
m~~§--=>¥~)~~-~~~~g-~-Cmi 7 F9 (J~) 1:>~mi~ 7 -e,b7 Am:,7 (~5)
@$~b~_~(~. ~~)'.~~§)~l W (RePEAl ANO FADE:)
Noll': lhl' choru symbol is placed dln.·t:Lly ;l!lOve llw rhythm or s.1 ash whcre lhe harmonic chanRc occurs.
51.
" X. .',)
(LA1IN) (WI1'H CIIOItVS Er:r:ec:r) 'e,llIi7 £7 Ami7 '07 ~1lIi1 £7 Ami7 '07
- m; 'Dlrti7 G7 c."'t\) 7 C'#7 F'#7
(~ g;;gu V 64§~-~~ ('Re'P€Ai AiJD PADE')
(rv~K 1 (i-l/GoI1 ~£("ff'l:.1't~,vHIV' W,1J.1 '1i."HII EF~£'T"
COM("fI/(,
'Viti! 'PM', (111#1) i) 1)1"17
~==-------'---E->t=_~~cj=~~J~W=trE~ I
ijgt7 /-/
7 1
N.')l(': After n stylislic rhythmic patLern is not:ltvd, rhylhm slashes and the word "simile" mny be used to indicate that the guitar player should play the successive chord changes in a similar rhythm.
Specific rhythms should be included on the guitar part when the arranger wants the guitar to:
1) support rhythms concerted for the entire rhythm -. section (or)
2) support harmonic anticipations in the melody with chord voicings (or)
3) establish a stylistic rllythmic patt(.~rn which is to be repeated throughout a particular section of an arrangement.
52.
-....
A cOllllllnilllon of hurlllonlc :tcc()lIlpl\nJllh~IIL Ilol;ll Ion I & :!..
L'X. b)
(SWIN Gr1 E~mo.F A~i 7&~) 1)7(?'J)
~ft ~#4r' &f@~1§I1~1ffi:I I WI I I t Gm7: G~7('~ 11) FMI7 '5~" 'P.J~7 (b~)
~I I t I I t b¥"¥f> ~I I
('RePEAT AJJD FAo£')
4. ~~~~_~jc rhythms including muffled chord accents:
(X) indicates a rhythmic "scratch" sound produced with a pick when the player muffles the strings with his or her hand or fingers.
ex. 7)
(rv~Kl
5. Specific lead notes to voicings:
A specific lead note and a chord symbol indicates that the given note will be the highest note played in the chord voicing. Written instructions help to clarify this.
Lead note range:
COH.,.", ij Q written
-,~···,,·..=t::7~ d 1)
53.
SPC(; lI".Lc 1e3d notes 1:0 vOIClngs shou ld be indicated on the gul t:lr paL-t lln I y when the arranger n'qulrl's the gu i l;lr pI ayer to:
a. support specific percussive or sustained melody notes (usually in the absence of horn voicings) or
b. support specific chord voicings notated for the other rhythm section instruments.
N~te: Lead notes to voicings notation should not be used for. complex melodic passages.
6. Specific voicings:
Specific voicings may be included on a guitar part when:
<l. the previous harmonic accompaniment notation discussed does not adequately communicate what the desired part should be and
b. the arranger has a thorough knowledge of the instrument.
54.
l'X. 9)
ex. 10) Note: close position triads are often used for guitar voicings.
('Rodt. ~AU..4'Ol (~Nl64i"'I.Y Wrr.. CIolOl\VS e-~FE~r'
1) % % %
~t¥.ec$ JM'-5%W~-~~i ~ ('RePE"'AT AMI) FAD£")
55.
cx. 11) (W.-rfol CMOIt"'~ EfFECT)
( j~zz '1 G7(5lJS 4) G7 ~_ -.. __ ._-_. __ ._ F7(~vs"l) F7_---------_. __ ._ .. _._---_._. -,
t@§ Notc: When specific voicings repeat rhythmically without the notes clwllging, usc the above notation.
A guitar technique where a single note or linear idea is played using n combination of sounded and muffled notes. Written instructions help clariCy this.
L'x. 1.2)
This guitar technique fs used in commercial dance and funk music when the rhythm section consists of several instruments and the arranger desires a specific rhythmic rather than an additional -chordal element.
8. Power chords:
A guitar technique where incomplete vo~c~ngs consisting of the root, fifth, and doubled root are played in a low register with heavy distortion. Written instructions help clarify this.
56.
ex. 13)
('Rod",1(1'Oa.J€RCHORDS , \ l.J"f~ TJIS"f'OftTIOIV)
(.4") C ,&b 'Dmi -=r ? a¥ tJ~-~a~:!~) 9 ~~-'o~~~ I
F G 1)b C -e,P 1 1• C
~~ (>~§t·)1 Iz, (~b) C
mr This guitar technique is used in high energy hard-rock music when the bass and guitar are playing concerted rhythms.
9. Single notes and chord voicings:
57.
N<JlIll' !Ioml'work:
::"I'I'!" "F,ldl;lr "lid drulIl pllrt f,.r lll,' foll"willF, :"~I,,I-', lUll,' glv"l1 lll,',;"
spl'c.ific instructions:
1) In the introduction: arrange the guitar part with "specific lead notes to voicings" notation using the melody as a reference. Arrange the drums using "kicks over time" notation using the melodic rhythm as a "horn cue".
2) In bars 5-16: The guitar and drums will play "basic time" with the inclusion of comping rhythms and/or drum kicks you feel are appropriate.
3) In bars 17-20: The guitar will comp chords using the rhythm of the b;\ss part. The' drums will play "stop timl''' fi.gures willi till' hass
guItar.
(up 5WI~u 1
mM: ), '''0 Frni7~ Gmi7(P')
L.~AO
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87
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J l' - Z. 3 4 (
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.
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58.
Cmi7
I ....
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n l
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59.
I ....
"
IS 20r:i::"" 17 '" ~ E'~mo..j7 I
. n
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n I ~ ~. - --;;
~~--h. .- . - - - -- -
.
• " .. ......... • 'BASS
GvrfAl\
1)RVJO\S
Zl
60.
- -
Name--------------- Homework:
Supply a guitar part for the following samba-fusion tune given these specific instructions:
1) A specific comping rhythm for the guitar in bars 1 and 2 that will be continued in a similar WilY through bars J - 8.
2) SpceHic dose position triadic vulcings that Ilarmonize the accented meludy nutcs in bars 9 - 12.
'Dmi7 Ami'} 'Vrni 7-J ~
~
~
-.... .
-..
II .. 'I • z. ~.
I
--.
"
i7
'Dmi7 Ami9 c;",i1 Gmi7 Ami7
........,;;
w.5.
-..
,
1)11\;7 Am;7 rlMjl c~m4i7 'D7(~vs4>-O~ma~7 I ~ - > >
J - • ....... •
• ... ~
., I
n
., 10.
s. rml\j7 ~Plll4i7 1)7(~~1bPfl\lij7 . ... :.,'> ...... "- " - -
II. IZ. r
61.
I 1(11ll('W(1 I'" :
Arr;lllge the following jazz waltz for guitar, bass and drums.
( UP JAZz W,QI.:rz,) mn\',)~ /84 Vmi7
LEAP ~£eT
~ I -I I
"
~
Gmi7Fmi7 Gmi7 Fmi7 I -
•
.
I
-
62.
(,mi7 n -
-. r
•
.
. ~
1\
tl
1'1
~
..
.- - .,. . l
.
. {
63.
!!vboards I. 'I'll I·; I N~;'I'IWf"IEN'I'S
A. ACOUSTIC PIANO:
Tilt· acouslic pianu .is a non-transposing inst rUIlIL'nl (1I1L' concert and sounding range arc the same).
BVd.···· •., Hange:
n
.a. /
I ,
e:f)vb ..•.. .1
The damper, or sustain, pedal (the right pedal) is used to sustain a note or notes after the fingers have been removed from the keys. The use of the damper pedal is indicated by marking (ped) at the point the pedal is depressed followed by an asterisk at the point of release.
r I. _ r-- -
.. ~ r r • r • r . .'" etC.
• -8-' ......-e - ~' '.e.
<I
B. ELECTRIC PIANOS:
The Fender Rhodes is a commonly used portable electric piano which a non-transposing instrument with the following ranges.
6YA. •••••• \ ~8 y e..···· ... .,
Rhodes 73 -e- Rhodes 88 ~= /~/'l
....
/ /-< ~
-e -,
The Fender Rhodes also has a damper, or sustain, pedal,
64.
C. SYN'I'IJI';S rZlms
All synthesizers are concert instruments with an unlimited range. Unlimited range is achieved by electronically controlling thl' rcgistrOltion fo the instrumcnt. Pitches in vnrlous octaves may Ill' produced by dl'presslng any key Olnd scllilli', thl' .... ppropri:ltl' controlR.
2. ~lolllJphonic and polyphonic synthesizers:
The number of notes that can be sounded simultaneously vary from synthesizer to synthesizer. Monophonic synthesizers can play only one pitch at a time. Some polyphonic synthesizers can play any number of voices simultaneously. It is important that the arranger be aware of the capabilities of the synthesizer for which he or she is writing.
3. Pedals:
All synthesizers allow for the use of pedals which control a variety of effects such as: volume, sustain and timbre.
4. Pitch control:
Most synthesizers are capable of pitch bending, portamento and vibrato.
5. Tone control and special effects:
All synthesizers are capable of a wide variety of tone (timbre) controls and special effects. These range from imitating acoustic instruments to creating innumerable sound effects. Synthesists take pride in their ability to create unique sounds. Therefore, the arranger must supply ex~icit written instructions on a synthesizer part to communicate the desired sound. The following are examples of typical instructions. They include a description of tone and attack, and, if appropriate, an acoustic instrument reference sound:
a) bright - percussive - brass sound b) dark - soft - cello sound c) bright - percussive - clavinet sound d) dark - legato - double reed sound e) distorted and screaming rock guitar f) dark - percussive marimba sound
65.
j I. NUTAT 1ON MJU l'i\ln'S
A. SI.NCLLo: STAVE CIIO!{IlAL ACCOMPANJMI-:NT NOTATluN
1. Camping (refer to guitar notes):
£7(#'J) AI"li1
g 7 7 7 7 7 7 I I I I I 1
rF #"7(#")
1~c;t~l~1 ~Z~R~Y=~IEI~l~7gl~7
ex. 1) (ACDVS'T' Ie 1'14~o,
(;JAZZ tJAI.;rz1 -e,mi 7(~5)
,!J~/ll ?TIl
Gmo.j 7
V7(P,)
7 1
7 I
7 Z
l
I
~ [:to "F7
7 7 7zt7 7I~¢ I I I) r I
Ami7
II$f~/~/ ~/~/~I ~Z~/~I ~/~I ~/~1§7 I· --: . r e-tc..
2. Playing chords with a specific rhythm (refer to guitar notes):
ex. 2) (Aej)l./s·...c 1'IA~")
(:fAZZ' CIlIi7 F7 eMi1 F7 'f>~ll\i7 ~~7 'f,bmi7 ~b7-§)1IIf -
Cl1\i7 F7 CIt,i7 F7 ~p "'67(#9) I
_Im>- r===W i i4 jZf=p ~~"'l),j1 Fmi7 C,mi7 Ab",o-i7 f:;1' AMi7&') V7(~') Gmi7(}1~ c.1~q')
I(~~b; ( ~~-t===14 I I I I I I? / I I I 1·-- f etc..
66.
Specific rhythms should be included on the keyboard part when the arranger wants:
1) to establish a stylistic rhythmic pattern (ex. 2) 2) to indicate a sustained chordal sound while the guitar
player provides the rhythmic pattern (ex. 3, bar 1-2; 5-6) or
3) to indicate specific rhythms to be concerted for the entire band (ex. 3, bars 3-4; 7-8)
3. Comping and specific rhythms combined: a combination of techniques 1 & 2.
ex. 4) Ok""S1'C.1'fA~O)
(gWI~"1 A~"'Q.~ 7
~..~ I I I
CMi9 I I I I
j I., I I I l Z I
E:~(13)~mc.)7) E:bmi1
I 7 I$%~lll/ I I
Fmi77 I 7II I' , l"t ~-()1 Z 10.11
I I I'
( ~ ~
Note: The chord symbol is placed directly above the rhythm or slash where the harmonic change occurs.
67 .
.
II. SJ'.l'.l::~f_!_c_J.<::";~_ll._nutc:>__t.?__vuidl....l;.:>: Rvfl.'r to ~1I1ulr cOlllping 110t.nt ion «/5)
~ ¢~J§
Specific vOlclngs should be included on the keyboard part when: 1) the previous comping notation discussed does not
adequately communicate what the desired part should be
2) the voicing demanded by the music cannot be expressed with a conventional chord symbol
3) different musical styles demand a unique style of keyboard playing_
(*Note: chord symbols in parentheses are for reference only)
68.
B. TWO STAVE CaMPING NOTATION
A two stave system consisting of treble and bass clef, or in some cases, two identical clefs, should be used for keyboard parts when:
1) both right hand comping voicings and a specific left hand bass pnrt are to be pl ayed .It the s.1me tIme
2) specific voicings require both right and left hands 3) more than one keyboard is to be played by the same player 4) both a right hand melody and a specific left hand
accompaniment are to be played at the same time or 5) an arrangement is to be published.
The two following examples demonstrate specific right hand voicings and a left hand bass part which are to be played together.
ex. 7) (Ac:o"'s'nc. 1"A"'O) (LA1/~1 Ce",i7) (E"7) (A)ni 7) ('07)
A ) 2n
eI ~
A
. f ~ tr ....ttr"",::; ....
')t
q~..... f/':J- .". ::;;ti .,....
-.... I
~ ~
(Dmi7) (G7) n
tI .. - 7:.+ - ..,. -r .. ~...;:j. ~ ~ 0( "'" I'"
( . I'"
.
t
..,. -; .... T ~*
- . I
ex. 8) 1'''7 (~'GtH'rCLAVI~er £'cv~o) 1.3~
li'~ (
2.II I A
, :3 .3 ~ .3
. 01 ~ "$" , "S' , ~' I :' II
~r I.
.
n:: J J (1?Pfl\i9) (£P9)
I ") ~ ~ ",.J"..J ~ 3
2L ~ 3
~II I I ~;: "
~ ~ L
~ - ~ ~ ~
69.
Note: r.h'lIlging from :1 two stave' to ;\ sln~',l(' stolVe' system mOlY occllr ,Il the beginning of a new line.
TI1C following single stave piano part could be arrOlngcd in a two sLave system [or a published score.
ex. 93 (~COVS·T'lc. 1'IAH~)
1(5wI N ~ Ami 7(P5)'07(~9) Gmi7 CC)(f$)
-, I • - "l 6r'() (' GJ
()
Cmi1 1='9 "O~Il'41-~7 '[3b7 A",i7(~5)
(' ..~~)~gEp ( '/~' g$
ex. 9b (~covsr,c. P,I1,vo)
(SWI~" " A",'d~5) 1)1b~)
.;
n
if
I. 1
4
J Ie
.' ~: :::::~ of-: .../I ':L "11' .... ~7J'
mI- I
I h
.-J ) I"'"I
! i""""oI \." .-" c.. • ~ ...• . .....
-<
- L /'r- L
. I .~" .. I "J I ~ (
n I
.. '" -t: .. . -=i ..c=-~ .. '*',r;~
" '" , ..
Note: If the vo~c~ngs for either hand span an interval of an octave or less, the part will be playable regardless of the size of the keyboardist's hands.
70.
--
The two following examples demonstrate multi-keyboard parts to be played simultaneously by one musician.
ex. 10)
" ,.j. - } I
., ~ . ...
f (1)) (%) Am,%' (%) (C)(tl,,,VSl"C)'PlANe ~ 'l!- '6- I~: £B IbB.
I ")
--(%» ~
_t
. •
(F) (G) 11::....: +.Q.
,
ex. 11 )
(£"Pt1'ff4J 1 (P"7,'O~1t" ~IU' G"UHO) ,n
II J -e -~-eil- "Zr. -_'r!'
''''''l'IC)Ir~A~O
1I1J Fm~)7 £~lY\~) '7
til J ")
...
~
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~7 .
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C7(~\ls4) L
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EPmc.~7
I 1-"1 I-" ,
71.
N,llIIl'
IItlllll'Wtl r k :
SlIllply :. syllLhesIzl,r part for thl' foJ lowIng fllnk LIIIll' givell till'sl' spl'clf Ie instructions:
1) A specific comping rhythm consisting of predominantly short note values in bars 1 and 2 that will be repeated through bar 8.
2) Indicate an appropriate sound reference for the synthesizer player.
( F"v~ r;') mm; ) :s/o&
,.5.4.
- I
J - -(S\'N1fl'
. 1
(~ASS' - -. . .. -.
z."' .... IJ ~
A7 n
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-
I
- -v
r - ~l
•
.
.
. t:::::' (s.
72.
------------------
- -
Name
Homework:
Supply a synthesizer part for the following bossa nova tune given these specific instructions:
1) A specific comping rhythm consisting of predominantly long note values.
2) Indicate an appropriate sound reference for the synthesizer player.
(1?~S5A NOVA) ); /zo G~i7 F~i1
LfAo s~nr
I
I 0# ....
,., I
t1 I
,., I -t1
" L
II
Gmi7
n I -. vtI - -
,., I
III
.... v ..tI -
I
73.
HOMEWOI{K: Name
Supplv :111 :1l'oust ie pl:lIlO pal"t" for til(' following rock h;I1I;ld tUI1(' givell
tlie:'" specific instruclio!U;:
I) '1'11(' pl.ano wi.11 play both tile IllL-Iody and ctllJnlL'rllllL' :111 tilL' rigllt lIand ;md the bass line doubled in Ol:taves in the left hand in a 2 stave system consisting of treble and bass clef.
2) Single stave comping for bars 5-8. 3) Spcc:l.fic. close position triadi.l: voicLngs tllat h'lnlloni7.L' til<.' mL'lody in
tilL' r igllt hand while the left hand plays tlw routs of the chords in bars 9-16.
(ROCK t?AU.AP) IM1: ,1:: 71. 'P % %
.. -,r' ~"r
z.
% % ( ..J.
t' - .. ~o;r
,• r' t-f n..J.
tI
<
( ·· 3. 4.
I.
n ..J. t' l' ttl Jf u~f
1"1 ..J.
1 01 J
<
l
c Il ... -; -"
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· · 5.
74. ".
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v c
I
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( 7.
~mi1 r ..J.
. • r -..
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. 9. 10.
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.
75.
v A n.oJ. ....
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~
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/
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11. ,,,.I
76.
Fl.n ..d. ProJect:
I) Rhylhmlcally adupt the given melody to the IlHIHlcal styles Indjcllll~d and write it out in the 2nd stave.
2) Arrange your version of the given melody for guitar, acoustic piano, bass and drums.
3) Your arrangement will be played in class (if time is available). Your melodic version may be scored for guitar (or a wind instrument if available).
77.
I
N:11l11'
(fNT"ftO) C",i7 A'OI~~ 7 lIz, A~ '1rJ l rnl,\~
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78.
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79.
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t
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4 I
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80,
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Cmi7 LEAP Stlnf
t'I
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81.
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82.
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83.
I: j 11,,1 I'rllj",'t:
I) I{JIYlllllli,':lIly ;1(1:lpl lll<' giVl'1I 1IIl'Iody lo I Ill' 1II11::i<-:i1 slyll" IlIdil':lll'd :111l1
writl" .il oul ill LIIL' ~IllJ sLav\.!. :0 A'-LIIlI',I' your vl'rsloll of till' givell IlIl"lody for f,ull:!r, sylllill'sizl'r, h:lss
;tlld drllllls.
:1) YOllr "rralll'.l'IlIl'llt will he pl:lyC'd ill ('1:IHS (j f (!lnl' is :IVa.llahll').
YOllr IIlL'Jodie versIon may bL' scored for guiLar (or a wind illsLnlllll'llt i.t :Iv:lililhlv).
84.
l
I
Name _
(-R"cl' 5uvr:FL£1 tnm: J: Ito
(iNrtW) n :,m % % G ~
m£I.OCv ltI/ Awr" " 'A'1IC,.S
r .... J
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85.
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86.
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87.
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•
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mel.oPY wi AtJil' c.f'ft1'"M.is
r
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88.
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89.
"'£L.O~wi AN1'I~ CltJltT'OIl}
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;
90.
- ,
APPENDIX
91.
Trans~osition
TRANSPOSITION CONCERT prra I WRr.rfEN FROl1 CONCERT
(SOUND)
Bb TROMBONE
B~
E~
SOPRANO SAX
ALTO SAX
(~
$
&0
~o
I, I@
"
,1
It
~
UP A MAJOR 2nd
UP A MAJOR 6th
B~
Eb
Bb
TENOR SAX
BARITONE Sf\/.
CI..AR.mLl'
~
9
~
~
&v
~O
I~
1$
I~
"
"
('
~ UP A MAJOR 9th
UP AN OcrAVE PWS
A MAJOR 6th
UP A MAJOR 2nd
~ " I~ c' ~ NON-TRANSPOSING
92.
Range Chart o = EXI'REME RANGES • = PRACITCAL RANGES
CONCERT WRITTEN ( TRANSPOSED )
.L ~ -1$~ B. SOPRANO SAl<
1\(_)
..Q..L -
,b=e: + b1""
E~ ALTO SAX
~O ' $ 11$ , II
:LB~ TENOR SAX II, bv
,--'2
~i@ib" • @ b'Z'" .a..L -
~ 8vOw
L r~
II
(4) :;:
~, ~
.L- i~-~
93.
ACKNOWLEDGEMENTS
I would like to give special thanks to Ted Pease-Division Chairman of Professional Writing and Robert Freedman-Department Chairman of Commercial Arranging for their guidance and direction in this project. For without their help, this book would not have been possible. Also, special thanks to Carlos Queral for music copying and layout.
Robert Doezcma
7/28/86
,